J Dilla reinvented the remix. Since remixing’s inception with Jamaican dub reggae pioneers in the 1960s and razor blade-wielding tape-editing disco producers like Tom Moulton in the 1970s, it has been a vital part of many producers' toolkits and a way to get their names in circulation. Like the forebearers that influenced him — Pete Rock, Marley Marl and Kurtis Mantronik — Detroit-born producer J Dilla was as gifted at remixing and reimagining existing songs as he was at crafting his own original productions. During his early years in the music business, Dilla worked under Q-Tip’s mentorship, producing and remixing tracks as part of the Ummah production collective. During this early run of productions, Dilla laced many established artists with his characteristically soulful and funky beats. Today, nearly two decades after his tragic and untimely passing, these remixes for hire have gone on to become some of Dilla’s music beloved and influential productions. Here are a handful of essential remixes created by one of hip-hop’s most beloved musical minds.
Spacek - “Eve (JayDee Mix)” feat. Frank N’ Dank
J Dilla’s remix of British future soul act Spacek's single “Eve” is a delightfully meta game of musical telephone. With its muted, bubbly bassline, and deliberately swung drum pattern, Spacek’s original was clearly influenced by Dilla’s earlier production work for A Tribe Called Quest and Slum Village. For the remix, Dilla one-ups Spacek’s original, even opening the track by stating “Let me fuck wit it,” before completely blowing the track up and giving it a dramatic facelift. Anchored by a cavernous kick and snare and menacing synth bassline, the breezy, soulful tune is transformed into a dark and seductive masterpiece. With guest verses from Frank N Dank extolling the joys of getting money and rocking icey chains, Dilla’s “Eve” sounds like it was made for a spotlight dance for a strip club in outer space.
D’Angelo - “Me And Those Dreamin' Eyes Of Mine”
Many of J Dilla’s productions between 1995 and ‘97 bore a distinct sonic signature. Beats like Busta Rhymes’ “Still Shining”, Slum Village’s “Estimate” and “Pregnant” are all based around the simple arrangement of an electric piano sample, a heavily syncopated bassline, and cracking, swinging drums. Perhaps the mightiest beat in this particular Dilla chamber is the beat he made for an unreleased remix of D’Angelo’s “Me and Those Dreaming Eyes Of Mine”. The beat — also known as “Dreamy” — is built on a hypnotic four-bar keyboard sample that perfectly compliments D’Angelo’s rich vocal harmonies and tender falsetto. A gorgeous marriage of hip-hop and R&B sensibilities, Dilla’s take on the D’Angelo classic injects “neo-soul” with some serious weight, texture and grit.
Four Tet - “As Serious As Your Life (Jay Dee Remix)" feat. Guilty Simpson
At first glance, J Dilla and London-born DJ, producer and multi-instrumentalist Kieran Hebden (also known as Four Tet) appear to have little in common. While Dilla grew up in Detroit, immersed in hip-hop culture, Hebden came up in London playing in the instrumental, post-rock outfit, Fridge. Despite these superficial differences, both men’s relentless drive to experiment within their chosen genres made them kindred spirits in a way. Naturally, the 2003 meeting between Dilla and Four Tet unleashed all kinds of intriguing musical possibilities. By pitching up the original’s main riff and adding fresh verses from himself and Detroit-native Guilty Simpson, Dilla transforms Four Tet’s abstract instrumental into a raw and bizarre underground rap classic.
The Brand New Heavies - “Sometimes (Jay Dee Remix)” feat. Q-Tip
A shining gem of Dilla’s Ummah/Delicious Vinyl era, “Sometimes” was the 4th single from U.K. modern Funk pioneers The Brand New Heavies’ 1997 album, Shelter. With its impossibly swung interplay between the keys, drums and bass, the Ummah remix of “Sometimes” is funky and head nod-inducing as anything that’s ever been committed to tape. Add in some delicious vocal chemistry between Q-Tip and N’Dea Davenport and you get a bright and optimistic jam that still works on the dancefloor.
Vivian Green - “Fanatic”
Musically and emotionally, the original version of Philly singer-songwriter Vivian Green’s “Fanatic” is vastly different from J Dilla’s remix. The original’s hazy, laidback instrumental arrangement is a stark contrast to Green’s lyrics about an addictive love. For the remix, Dilla strips the entire song down and pairs Green’s vocal with a crooked, jittery beat that brings some appropriate tension to the song. The result is a speaker-punishing, yet nervy take on Green’s ode to all-consuming love.
Crustation - “Purple (A Tribe Called Quest Mix)”
“Purple” is the 1997 single from Bristol electronic band, Crustation. Originally dubbed the “A Tribe Called Quest Mix,” Dilla’s remix of “Purple” sounds like it was beamed in from another planet. Vocalist Bronagh Slevin’s performance pairs beautifully with Dilla’s slow, syrupy beat. Songs like “Purple” suggest that Dilla could’ve made a killing hooking up with electronic singers and crafting dreamy, MTV Amp-ready mood music.
Busta Rhymes - “Woo-Hah!! Got You All In Check (The Jay Dee Other Shit Remix)”
Although the two never produced a full-length project together in Dilla’s lifetime, J Dilla and Busta Rhymes had an unparalleled musical chemistry. Songs like “Still Shining,” “Show Me What You Got” and “Takin What’s Mine” stand as high points in both men’s extensive catalog. While Rashad “Tumblin’ Dice” Smith’s original is a certified classic, “The Jay Dee Other Shit Remix” is quintessential mid-’90s Dilla with its muted bass, chopped-up, ascending keyboard chords and neck-snapping drums. The beat is silky smooth and bouncy, providing a great contrast to Busta’s gruff, animated vocal.
The Pharcyde - “She Said (Jay Dee remix)”
For many hip-hop fans, The Pharcyde’s 1995 sophomore album, Labcabincalifornia was their introduction to J Dilla’s production. Not only did he produce the album’s hit lead single “Runnin’” (and its B-side “Drop”), he also lent his magic to several standout album cuts and a scorching remix of the album’s second single “She Said.” With its filtered piano chords and bass that sound like they were pulled from a well-worn jazz record, the “She Said” remix embodies the wavy, textured sound that Dilla explored during his time working with The Pharcyde.
Keith Murray - “The Rhyme (Slum Village remix)”
Aggressively bouncy and impossibly catchy, the “Slum Village Remix” of Keith Murray’s “The Rhyme” is a prime example of Dilla’s preternatural gift as a remixer. Erick Sermon’s original paired Murray’s vocal with butter-soft keys and a slick, halftime interpolation of the bassline from Frankie Beverly and Maze’s cookout classic “Before I Let Go.” In Dilla’s hands, the song is completely revamped with swinging, stuttering drums and a colossal bass. Against this new sonic backdrop, Murray’s energetic battle raps and scattershot energy feel perfectly at home.
De la Soul - “Stakes is High (Jay Dee remix)”
An underappreciated conundrum that comes with the art of remixing is figuring out how to put a unique spin on a well-known and beloved song. With its grand orchestral loop and an infectious vocal sample yanked from James Brown’s “Mind Power,” De la Soul’s “Stakes Is High” is one of Dilla’s signature beats. Instead of trying to top the outsized energy of the original, Dilla’s remix is a relaxed, understated bop. Guided by his bouncy, slapping drum beat, Dilla chops up some gorgeous Fender Rhodes chords to create a remix that strikes a lovely balance between rugged and smooth.
Mood - “Secrets of The Sand (remix)”
When Cincinnati rap outfit Mood released their album DOOM in 1997, the song “Secrets of The Sand” made serious waves in underground rap circles. Earning spins on radio mix shows nationwide, Jahson’s original production sports a dark and dream-like, Latin-tinged feel. Dilla’s remix brightens the mood (no pun intended) with a perky drum groove and a guitar sample filtered to mimic the sound of a wah-wah pedal. Once you get to the tune’s soaring, sung chorus, you get a remix that is distinct and cooked to perfection.
Common - “Come Close (Closer)" feat. Q-Tip, Erykah Badu and Pharrell Williams
Not only did Q-Tip help Dilla get early production placements through his work with The Ummah, the crisp, jazzy sound that Tip pioneered with A Tribe Called Quest influenced the way Dilla made music. This influence is evident in the way that Dilla would pay homage to Tip’s sound by flipping samples that his mentor had previously touched. For the “Closer” remix to Common’s 2002 single “Come Close to Me”, Dilla puts his own spin on the keyboard sample from RAMP’s “Daylight” that Tip used for ATCQ’s “Bonita Applebum.. With Dilla’s lush beat and guest vocals from Tip, Erykah Badu and Pharrell, the “Come Close” remix is a fly love song for the ages.
Brother Jack McDuff - “Oblighetto (Jay Dae remix)”
For the 2004 compilation Blue Note Revisited, contemporary producers like Jazzanova, Osunlade and Madlib are recruited to rework classic cuts from the legendary jazz label’s storied vaults. In a particularly inspired choice, J Dilla was tapped to remix Brother Jack McDuff’s 1970 single “Oblighetto” The original is a sublime soul-jazz cut full of McDuff’s rich organ and ghostly, wordless vocals and Dilla’s remix takes it to another realm, entirely. Refitting the tune with a drum groove similar to his 2001 cover of Donald Byrd’s “Think Twice,” Dilla transforms “Oblighetto” into a fresh hip-hop/jazz hybrid.
Das Efx - "Microphone Master"
This remix of Das Efx’s 1995 single “Microphone Master” finds Dilla operating at the peak of his remixing powers. In contrast to Easy Mo Bee’s raw, grainy original, Dilla’s take is bright and full of glowing electric piano chords. Typical of Dilla’s mid-’90s productions, the beat is fueled by a bouncy, swinging drum pattern that provides a perfect foundation for Skoob and Drayz’s nimble, virtuosic rhymes.
Innerzone Orchestra - “People Make The World Go Round (J88 Remix)”
Innerzone Orchestra is a side project from Detroit Techno pioneer, Carl Craig. On their 1999 debut, Programmed, Craig and crew combined jazz fusion, hip-hop, and soul into an intoxicating and future-minded whole. The band recruited Dilla to produce a remix for their grand, orchestral take on Linda Creed, Thom Bell and The Stylistic’s 1971 epic, “People Make The World Go Round.” Ever the tasteful producer with great feel, Dilla allows Paul Randolph’s voice and guitar as well as Cris Benjey’s dramatic string arrangement to breathe for a full two minutes and forty seconds before dropping the beat. Once Dilla’s groovy drums and bass join in 5/4 time, the entire track is lifted to another level.
source https://www.okayplayer.com/15-essential-dilla-remixes
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